Happy Birthday!制作流程
使用软件: Maya, 3dmax, ZBrush, VRay, Photoshop
获得荣誉：CGTALK 入选画廊 首页推荐 CG Choice Award
CGHUB 入选画廊 首页推荐
3DTotal 特约教程撰写
英国CG杂志《3D Artist》（66期） 出版刊登
作者：张麟 zeroozhang
工作经历:
8年的游戏工作经验，曾供职于上海动视暴雪，上海英佩等公司，目前在腾讯北极光工作室刀锋铁骑项目组工作。热爱游戏与CG，喜欢在业余时间构思创作有趣的作品。
作品介绍：
今天给大家带来这张作品的小教程，主要是一些流程和心得。希望对一些感兴趣的朋友有所帮助。
在决定主题时我首先想到了小孩，因为我觉得孩子的出现一定会给家庭带来无尽的欢乐和惊喜……当然还有一些意想不到的麻烦，所以我构思了一个混乱但有趣的生日派队！想表现一个夸张但其乐融融的家庭。下面是制作过程：
（PS：有很多人问我为什么要做日本题材，好吧……其实我当时一边做作品一边在看樱桃小丸…… )
Step 1: Preparation资料收集
Firstly, I spent a lot of time to collect references and figure outthe composition. This is a big step, many people will ignore it. In this stage, the more well-prepared, the better chance of a success, it's like the solid foundation for a great construction.
首先，我花费了很多时间在收集资料和决定构图上。这是很重要的一步，很多人会忽视这点。在这一步上准备的越充分，你成功完成作品的机会也就更大！如同一个伟大的建筑需要一个坚实的地基.
Step 2: Rough model and Lighting test 基础模型和灯光测试
After initial composition, I made some simple models for lighting test to test my intuitive of the overall atmosphere. Then I adjusted camera's position to determine the composition.
Anyhow, I will continue adjusting camera in further stages .
在有了初步的构图之后，我制作了一些简单的模型用来进行灯光测试，使我自己对整体的氛围有直观的认识。然后还要调整摄像机的位置来确定构图。
当然，在接下来的步骤里我还会去调整它们。
Step 3: Character model 角色模型
These models are made in the MAYA and ZBrush. Because the image is focused on the feeling of the wind, so each person's face is very important, and also need to pay extra attention to the various details of clothing and body. It needs great patience and careful observation.
这些模型基本上都是在maya和zbrush中制作的。因为这张图像的重点是风吹的感觉，所以每个人的表情很重要，并且还要考虑到身上的服装和各种细节。这需要极大的耐心和细心观察。
Step 4: Scene Model 场景模型
After completed basic model, I began to focus on the scene, all models had not use any special techniques but basic skills, they are all twisted and adjusted manually, this is very interesting and imaginative experience for me. I also met lots of difficulties at this stage for two main issues: 80's Japanese style and windy environment. Many objects have been done at least three times or more.
Because of too many objects, I'm sorry that I can only release some of the scene shots here.
在基本完成角色的模型后，我开始集中精力制作画面中的场景，所有的模型都没有用到什么特殊技巧，都是手动制作然后摆放。这是非常有趣并且充满想像力的过程。当然，我也在这一步遇到了不少的困难，主要有两大方面：８０'s日本风格，大风环境。很多物件我至少重做了三次以上。因为物件太多，很抱歉我只能放出一部份的场景截图。
Step 5: UV & Model Optimization UV
The next stage is the UV, which is actually carried out with modeling stage simultaneously. I mainly use UV Software: UVlayout and unfold3d for UV unwraping.
In order to save produc time for the scene model, I used the ZB UVmaster function, and use this tool to copy the UV information from low-level models to high level models as shown below:
接下来是ＵＶ阶段，这其实是和模型阶段同步进行的。我主要用到的ＵＶ软件有两个: UVlayout 和unfold3d。
对于场景模型，为了节约时间。我一般用ＺＢ的UVmaster功能，并用这个工具来把低级模型的ＵＶ信息复制到高等级模型上。如下图：
Step 6 : Lights & basic material 灯光和基础材质
When the model completed, I put them into MAX, and began to carefully adjust the light and create some default shader for rendering test. I use Vrayfor lighting and materials. This step is very time consuming, cause I need to test the rendering repeatedly until it achieved a satisfactory results.
当模型完成后，我把它们导入ＭＡＸ里，开始仔细的调整灯光并且创建一些默认的材质球来进行渲染测试。我用的是Vray渲染器、灯光和材质。这一步非常花时间，因为我需要频繁的渲染测试以达到满意的效果。
Step 7：Materials and Mapping 材质贴图
After lighting and basic colors been setup, I began to create character and object textures, I mainly use the varyMtl shaders to simulate normal objects, use varyfastsss2 to simulate objects have 3S material effect such as skin, cream and juice.
Because there are many objects in the scene, the final number of textures are more than 100.Following is a part of the character textures and materials:
在确定灯光和基本颜色后，我开始创建人物和物件的贴图，我主要使用了varyMtl材质球来模拟普通物件，varyfastsss2主要模拟皮肤，奶油和果汁等带３Ｓ的材质。
因为图像中的物件很多，所以最后的贴图有１００多张，以下是一部份人物贴图以及材质：
Step 8 : Hair&Fur 毛发
All hair was done by the plugin callHairtrix (Ornatrix)in MAX, it is not only a very powerful hair plugin, but also very easy to control. you can find out detailtutorial if interested, I only introduced it briefly here.
For example: I devided model of Dad's head into few area, and then select one as the basis for hair generating, add appropriate nodes in order: OX Gudie form surface, OX Edit Gudie edit spline. When I get proper brush spline, then adding OX Hair form Gudies, you will be able to get an appropriate hair, I also added some random nodes afterward to get bit of natural looking.
头发我是用max的Hairtrix(Ornatrix)插件做的，它不仅是一个非常强大的毛发插件，而且还十分容易掌握。有兴趣的朋友可以去找一下详细的教程，我这里只是简要介绍下。
以爸爸的头发为例：我先把爸爸的头皮根据发型复制分割出来，然后选取一块做为生成毛发的基础。依次添加相应的节点：OX Gudie form surface 、OX Edit Gudie编辑样条曲线。当刷出了满意的样条后添加ＯＸ Hair form Gudies 就能生相应的毛发。然后可以再添加一些其它随机的节点使它显得自然些。
I did all areas of hair one by one until all hair has been completed. As shown below:
完成后继续下一块头皮直到所有的头发完成。如下图：
Step 9：Rending 渲染
Because the pre-test work had well prepared, the final rendering was quite smooth.
I did not use layered rendering, all the elements are rendered one-time including hair. The benefit of this process is that the effect will be very uniform and precise. The disadvantage is that the rendering time is too long, and also limit the flexibility of post-processing. The final result of rendering picture is shown below:
因为前期的测试工作做的比较充份，所以最后的渲染还是比较顺利的。
我并没有分层渲染，而是把包括毛发的所有元素都一次性的渲染出来，这种做法的好处是效果会十分统一，精确。坏处是渲染时间过长，后期处理时自由度不高。渲染的最终成果如下：
Step 10 : post-production 后期校色
The final step, I did some tone adjustment and detail touch in photoshopwhich improveed the quality of the final image.
最后一步，我在Photoshop中对图片进行了一系列调色和细节处理。这一步能在原有的基础上继续升图像的品质。
This article is for sharing my production experience, thanks for reading and hoping you like it, thank you!
这篇文章主要是和大家分享下我的制作的思路和经验，感谢大家的阅读，希望你能喜欢，谢谢！
Happy Birthday !
使用软件: Maya, 3dmax, ZBrush, VRay, Photoshop
获得荣誉：CGTALK 入选画廊 首页推荐 CG Choice Award
CGHUB 入选画廊 首页推荐
3DTotal 特约教程撰写
英国CG杂志《3D Artist》（66期） 出版刊登
作者：张麟 zeroozhang
工作经历:
8年的游戏工作经验，曾供职于上海动视暴雪，上海英佩等公司，目前在腾讯北极光工作室刀锋铁骑项目组工作。热爱游戏与CG，喜欢在业余时间构思创作有趣的作品。
作品介绍：
今天给大家带来这张作品的小教程，主要是一些流程和心得。希望对一些感兴趣的朋友有所帮助。
在决定主题时我首先想到了小孩，因为我觉得孩子的出现一定会给家庭带来无尽的欢乐和惊喜……当然还有一些意想不到的麻烦，所以我构思了一个混乱但有趣的生日派队！想表现一个夸张但其乐融融的家庭。下面是制作过程：
（PS：有很多人问我为什么要做日本题材，好吧……其实我当时一边做作品一边在看樱桃小丸…… )
Step 1: Preparation资料收集
Firstly, I spent a lot of time to collect references and figure outthe composition. This is a big step, many people will ignore it. In this stage, the more well-prepared, the better chance of a success, it's like the solid foundation for a great construction.
首先，我花费了很多时间在收集资料和决定构图上。这是很重要的一步，很多人会忽视这点。在这一步上准备的越充分，你成功完成作品的机会也就更大！如同一个伟大的建筑需要一个坚实的地基.
Step 2: Rough model and Lighting test 基础模型和灯光测试
After initial composition, I made some simple models for lighting test to test my intuitive of the overall atmosphere. Then I adjusted camera's position to determine the composition.
Anyhow, I will continue adjusting camera in further stages .
在有了初步的构图之后，我制作了一些简单的模型用来进行灯光测试，使我自己对整体的氛围有直观的认识。然后还要调整摄像机的位置来确定构图。
当然，在接下来的步骤里我还会去调整它们。
Step 3: Character model 角色模型
These models are made in the MAYA and ZBrush. Because the image is focused on the feeling of the wind, so each person's face is very important, and also need to pay extra attention to the various details of clothing and body. It needs great patience and careful observation.
这些模型基本上都是在maya和zbrush中制作的。因为这张图像的重点是风吹的感觉，所以每个人的表情很重要，并且还要考虑到身上的服装和各种细节。这需要极大的耐心和细心观察。
Step 4: Scene Model 场景模型
After completed basic model, I began to focus on the scene, all models had not use any special techniques but basic skills, they are all twisted and adjusted manually, this is very interesting and imaginative experience for me. I also met lots of difficulties at this stage for two main issues: 80's Japanese style and windy environment. Many objects have been done at least three times or more.
Because of too many objects, I'm sorry that I can only release some of the scene shots here.
在基本完成角色的模型后，我开始集中精力制作画面中的场景，所有的模型都没有用到什么特殊技巧，都是手动制作然后摆放。这是非常有趣并且充满想像力的过程。当然，我也在这一步遇到了不少的困难，主要有两大方面：８０'s日本风格，大风环境。很多物件我至少重做了三次以上。因为物件太多，很抱歉我只能放出一部份的场景截图。
Step 5: UV & Model Optimization UV
The next stage is the UV, which is actually carried out with modeling stage simultaneously. I mainly use UV Software: UVlayout and unfold3d for UV unwraping.
In order to save produc time for the scene model, I used the ZB UVmaster function, and use this tool to copy the UV information from low-level models to high level models as shown below:
接下来是ＵＶ阶段，这其实是和模型阶段同步进行的。我主要用到的ＵＶ软件有两个: UVlayout 和unfold3d。
对于场景模型，为了节约时间。我一般用ＺＢ的UVmaster功能，并用这个工具来把低级模型的ＵＶ信息复制到高等级模型上。如下图：
Step 6 : Lights & basic material 灯光和基础材质
When the model completed, I put them into MAX, and began to carefully adjust the light and create some default shader for rendering test. I use Vrayfor lighting and materials. This step is very time consuming, cause I need to test the rendering repeatedly until it achieved a satisfactory results.
当模型完成后，我把它们导入ＭＡＸ里，开始仔细的调整灯光并且创建一些默认的材质球来进行渲染测试。我用的是Vray渲染器、灯光和材质。这一步非常花时间，因为我需要频繁的渲染测试以达到满意的效果。
Step 7：Materials and Mapping 材质贴图
After lighting and basic colors been setup, I began to create character and object textures, I mainly use the varyMtl shaders to simulate normal objects, use varyfastsss2 to simulate objects have 3S material effect such as skin, cream and juice.
Because there are many objects in the scene, the final number of textures are more than 100.Following is a part of the character textures and materials:
在确定灯光和基本颜色后，我开始创建人物和物件的贴图，我主要使用了varyMtl材质球来模拟普通物件，varyfastsss2主要模拟皮肤，奶油和果汁等带３Ｓ的材质。
因为图像中的物件很多，所以最后的贴图有１００多张，以下是一部份人物贴图以及材质：
Step 8 : Hair&Fur 毛发
All hair was done by the plugin callHairtrix (Ornatrix)in MAX, it is not only a very powerful hair plugin, but also very easy to control. you can find out detailtutorial if interested, I only introduced it briefly here.
For example: I devided model of Dad's head into few area, and then select one as the basis for hair generating, add appropriate nodes in order: OX Gudie form surface, OX Edit Gudie edit spline. When I get proper brush spline, then adding OX Hair form Gudies, you will be able to get an appropriate hair, I also added some random nodes afterward to get bit of natural looking.
头发我是用max的Hairtrix(Ornatrix)插件做的，它不仅是一个非常强大的毛发插件，而且还十分容易掌握。有兴趣的朋友可以去找一下详细的教程，我这里只是简要介绍下。
以爸爸的头发为例：我先把爸爸的头皮根据发型复制分割出来，然后选取一块做为生成毛发的基础。依次添加相应的节点：OX Gudie form surface 、OX Edit Gudie编辑样条曲线。当刷出了满意的样条后添加ＯＸ Hair form Gudies 就能生相应的毛发。然后可以再添加一些其它随机的节点使它显得自然些。
I did all areas of hair one by one until all hair has been completed. As shown below:
完成后继续下一块头皮直到所有的头发完成。如下图：
Step 9：Rending 渲染
Because the pre-test work had well prepared, the final rendering was quite smooth.
I did not use layered rendering, all the elements are rendered one-time including hair. The benefit of this process is that the effect will be very uniform and precise. The disadvantage is that the rendering time is too long, and also limit the flexibility of post-processing. The final result of rendering picture is shown below:
因为前期的测试工作做的比较充份，所以最后的渲染还是比较顺利的。
我并没有分层渲染，而是把包括毛发的所有元素都一次性的渲染出来，这种做法的好处是效果会十分统一，精确。坏处是渲染时间过长，后期处理时自由度不高。渲染的最终成果如下：
Step 10 : post-production 后期校色
The final step, I did some tone adjustment and detail touch in photoshopwhich improveed the quality of the final image.
最后一步，我在Photoshop中对图片进行了一系列调色和细节处理。这一步能在原有的基础上继续升图像的品质。
This article is for sharing my production experience, thanks for reading and hoping you like it, thank you!
这篇文章主要是和大家分享下我的制作的思路和经验，感谢大家的阅读，希望你能喜欢，谢谢！